Tinjauan Teknik Vokal Gaya Dendang dalam Menyanyikan Lagu Minyak Habih Samba Tak Lamak Ciptaan David Iztambul

Authors

  • Iqbal Syahrul Ramadhan Universitas Negeri Padang
  • Yos Sudarman Universitas Negeri Padang

DOI:

https://doi.org/10.56910/pustaka.v4i4.1693

Keywords:

Dendang Style Vocal Technique, Oil Habih Samba Song Tak Lamak, Melody

Abstract

The aim of this research is to review the singing style vocal technique in singing the song Minyak Habih Samba Tak Lamak created by David Iztambul. This research uses descriptive qualitative research which looks at how singing style vocal techniques are used when research is carried out in the field and presents the results as they are. The informants in this research were David Iztambul himself and his colleagues. Data collection techniques use observation, interviews and documentation methods which will then be analyzed later to reach a conclusion. Based on the results of this research, the writer can conclude that the use of the singing style vocal technique used in the song Minyak Habih Samba Tak Lamak by David Iztambul consists of 4 types as follows: (1) The singing style vocal technique with chest and throat breathing which has a purpose. so that the song is sung in one breath that cannot be interrupted and that there are no mistakes in singing this song. (2) This singing style vocal technique uses articulation where there are no rules regarding mouth position as is done in basic vocal techniques. The most important thing is that the pronunciation sounds beautiful, melodious and has more taste. (3) Singing style vocal technique with resonance, this is because the oil habih samba songs don't use low notes for a long time, which can be done using techniques that use the head, throat, nose and chest breathing. (4) This singing style vocal technique usually uses the Garinyiak darek singing technique because the song Minyak Habih Samba Tak Lamak contains parasaian singing or singing. The melody is slow and non-rhythmic, meaning it is not bound by tempo, but there are also melodies that are bound by an irregular tempo. This is because the song Minyak Habih Samba Tak Lamak itself tells the feelings felt by a person based on their environment which is sung slowly.

References

Aley, R. (2010). Intisari pintar olah vokal. Yogyakarta: PT. Gramedia.

Ali, M. (2006). Seni musik SMA kelas 1. Jakarta: PT. Penerbit Erlangga.

Amalia, D. (2022). Pengertian seni musik, fungsi, jenis dan contohnya lengkap! Lifestyle.

Andriani, E. Y. (2021). Analisis artikulasi teknik vokal pada lagu “Dear Dream” oleh Regita Pramesti Suseno Putri. Repertoar Journal, 1(2). https://doi.org/10.26740/rj.v1n2.p259-26

Anggi Azhari Lubis. (2023). Hubungan bernyanyi gaya dendang terhadap popularitas lagu “Bayang-Bayang Rindu” ciptaan Edi Elmitos. Jurnal Sendratasik, 12(4). http://ejournal.unp.ac.id/index.php/sendratasik/user

Banoe, P. (2003). Kamus musik. Yogyakarta: Kanisius.

Darmawan, D. (2014). Metode penelitian kualitatif. Bandung: PT. Remaja Rosdakarya.

Djamaris, E. (2002). Pengantar sastra rakyat Minangkabau. Jakarta: Yayasan Obor Indonesia.

Fitri, L. (2015). Lirik lagu Minang modern karya Andra Respati kajian strukturalisme. Padang: Universitas Andalas.

Jamalus. (1988). Panduan pengajaran buku pengajaran musik melalui pengalaman musik. Jakarta: Proyek Pengembangan Lembaga Pendidikan.

Kodijat, L. (1986). Istilah-istilah musik (2nd ed.). Jakarta: Djambatan.

Kustiawan, W., Marshanda, S. A., Nabila, V., Suciono, M. W., Alya, H. T. D., & Djuniardi, R. (2023). Analisis jenis pelatihan pernapasan: Teknik pernapasan dan olah vokal: Pelatihan voice over. YASIN, 3(6). https://doi.org/10.58578/yasin.v3i6.1623

Miller, H. M. (2017). Apresiasi musik (S. Sunarto, Ed.). Yogyakarta: Thafa Media.

Pramayudha, Y. (2010). Teknik olah vokal. Yogyakarta: Buku Biru BukuPintar Olah Vokal.

Priska. (2013). Fenomena sosial masyarakat Minangkabau dalam lirik lagu ciptaan Agus Taher. Padang: Universitas Negeri Padang.

Rahardjo, S. (1990). Teori seni vokal. Semarang: Media Wiyata.

Rasyid, F. (2010). Cerdaskan anakmu dengan musik. Jogjakarta: Diva Press.

Safrina. (1998). Bernyanyi. Jakarta: Bumi Aksara.

Sedyawati, E. (2008). Ke Indonesia dalam budaya. Jakarta: Wedatama Widya Sastra.

Sihombing, F. (2003). Latar belakang dalam bernyanyi.

Simangunsong, E., Lumbantoruan, M., & Banjarnahor, E. (2021). Analisis makna lagu rohani dung Tuhan Jesus Nampuna Au: Problematika penyajian song leader dalam ibadah minggu di gereja HKBP. Grenek Music Journal, 10(2). https://doi.org/10.24114/grenek.v10i2.29464

Siswantoro. (2011). Metode penelitian sastra: Analisis unsur puisi. Yogyakarta: Pustaka Pelajar.

Soedarsono, R. M. (1992). Pengantar apresiasi seni. Jakarta: Balai Pustaka.

Soedarsono. (1992). Kesenian karawitan. Yogyakarta: Galangpres.

Soeharto, M. (1982). Membina paduan suara dan grup vokal. Jakarta: PT. Gramedia.

Soewito, M. (1996). Teknik termudah belajar vokal. Bandung: Titik Terang.

Sugiyono. (2017). Metode penelitian pendidikan: Pendekatan kuantitatif, kualitatif, dan R&D. Bandung: Alfabeta.

Taher, A. F. (2018). Perubahan kebudayaan dan perkembangan musik pop Minangkabau di Indonesia. Padang: Universitas Negeri Padang.

Wiranata, I. G. (2011). Antropologi budaya.

Zherry Putria Yanti. (2022). Gaya bahasa dan nilai moral dalam lagu Minang “Minyak Habih Samba Tak Lamak”. Volume 4(5). https://journal.universitaspahlawan.ac.id/index.php/jpdk/article/view/6589/5004

Published

2024-08-12

How to Cite

Iqbal Syahrul Ramadhan, & Yos Sudarman. (2024). Tinjauan Teknik Vokal Gaya Dendang dalam Menyanyikan Lagu Minyak Habih Samba Tak Lamak Ciptaan David Iztambul. PUSTAKA: Jurnal Bahasa Dan Pendidikan, 4(4), 01–20. https://doi.org/10.56910/pustaka.v4i4.1693